THE 



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Home 
Painting 




PUBLISMEO BY 

The Sherwin-Williams Co. 



The ABC of 
Home Painting 




The Sherwin-Williams Co. 

PAINT AND VARNISH MAKERS 

Factories: Cleveland. Chicago, Newark, Montreal, London, Eng. 
Sales Offices and Warehouses in Principal Cities 



m 



n308 HIS 1468 



Copyright, 1915 



The Sherwin-Williahis Co. 



S)C1.A4126S7 

SHP25I9I5 ^/ 






A Real Guide-Book 
To Home Up-Keep 



'' I \HE painting instructions set forth in this book have 
been prepared by a practical painter who is able to 
write in the language of the home-owner. A lost books on 
painting arc so full of the terms of the trade that nobody 
but a painter can understand them. There is not a single 
technical word or phrase used in these instructions. Any 
one can understand them and follow them. 

The Sherwin-Williams Co. makes a complete line of 
Home Finishes — a paint, stain, enamel or varnish for 
every surface in and around the home. Each comes all 
ready to apply and in such sizes of cans that you need buy 
only the quantity you need for your purpose. 

The more important painting work around a home 
should be done by an experienced painter, but the little 
jobs can be done by any one. Just get the right Sherwin- 
Williams Product for the surface to be refinished and fol- 
low the instructions here set forth. 



Page three 



What do you wish to Paint? 

To assist the home-ozvner m readily finding the 
particular S-JF Product required for the surface to 
be painted, varnished, stained or enameled, the dif- 
ferent surfaces are listed first, in alphabetical order. 



A 
SURFACE P^H'' 

Andirons ^^-a 

Automobile: 

• To Clean Brass U^-e 

To Dress Top 18-fl 

To Dress Leatlicr 16-/ 

To Refinish 16-g 

B 

Baby Carriages 

To Enamel . 27-b 

To Varnish 16-^ 

To Restain 29-a 

To Finish Hood 1 S-fl 

Bams 

Exterior 14-J, 11-rt, ll-/^ \A-r 

Baskets 

To Stain and Wax Ib-h 

To Enamel 27-b 

To Restain 29-a 

Bath-Tubs 

Exterior 38-/' 

I nterior 'i9-a 

Beds 

ToRefinish 29-a 

To Enaniiel 27-b 

Benches 1 5-c 

Bird Cages jQ-c 

Blinds 

Wood \\-a,n-b,U-e 

Iron 16-c, d 

Boats 

To Varnish \\-a 

To Paint 11-a, 11-/; 

Boilers 

To Protect 41-/> 

Brass 

To Clean \G-e 

Page four 



B 

SURFACE Page 

Bookcase 

To Stain 26-a 

To Restain 29-a 

To Enamel 27-b 

To Varnish 27-a 



Brick 

Buggies 

To RefinisI 



U- 



16-g 



Canoes 

To Varnish \\-a 

To Paint W-a, U-b 

Canvas Wall Coverings 32-c, 34-a 

Carriages 

Exterior l^-g, 18-a 

Ceilings 

Porch U-a,\\-a, 11-3 

Interior, Plaster 32-c, 38-(3, c,d 

Interior, Metal 37-c 

Cellars 3S-d 

Chairs 

To Enamel 27-b 

To Paint 30-(2 

To Stain 26-a 

To Varnish 27-a 

To Refinish 29-a 

Chandeliers 39-c 

Chicken-Houses 

Exterior \\-a, b, \A-d, e 

Interior Perches 15-fl 

Chimneys 

Concrete \\-c 

Clothes Reels \(y-h 

Clothes Posts \G-h 

Concrete 

Exterior 14-c 

Floors 39-J 



Consult this Index 



SURFACE Page 

Corn-Cribs 14-^ 

Cornices, Metal 15/ 

Croquet Mallets 14-a 

Cupboards 30-a 

D 

Dancing Floor 31-/) 

Desks 

To Restain ; 29-a 

To Revarnish 27-a 

Dog Kennels 

Exterior 11-^;, b, l-i-e 

Doors, Exterior 

To Enamel l-i-b 

To Paint U-a, b 

To Stain 13-i 

To \'arnish 14-a 

To Stain Mahogany 13-c 

Doors, Interior 

To Enamel 27 -b 

To Paint ..30-a 

To Stain 26-a 

To Varnish 27-a 

To Stain Mahoganv' 27-c 



Electric Fans . 



.39-c, \6-e 



Fabrics 

To Stencil 37-a 

Farm Machinery \6-b 

Fence-Posts 14-^, 16-a 

Fences 

Wood 14-(/, \b-a 

Iron 16-f, d 

Fire Escapes \G-d 

Fishing-Rods H-a 

Flag Poles 

Concrete 14-c 

Metal 16-a 

Wood 11-a, b 

Floors, Interior 

To Einish Concrete ?i9-d 

To Grain 32-a 

ToOil 32-i 

To Paint 31-f 

To Stain (new) 3l-a 

To Refinish 'i\-d 

To Wax 31-A 

To Varnish 30-6 



F 
SURFACE Page 

Floors, Porch 

Wood 13-a 

Concrete 2i9-d 

Flower Boxes 1 1-a, b 

Flower Urns 

Plaster 14-f 

Metal 15-/ 

Foundation 14-c 

Furnaces 41-i 

Furniture 

(See Woodwork, Interior) 

G 

Garages 

Metal 15-/ 

Wood U-a, b 

Concrete 14-c 

Garbage Cans 15-/ 

Garden Seats 

Concrete 14-c 

Wood 15-c 

Gas Jets 

To Gild 39-c 

Gates 

(See Fences) 

Gold 

To Clean \b-d 

Golf Clubs 14-a 

Grain Houses 

Exterior \^-d 

Gutters and Drain Spouts 15-/ 

H 

Harness \6-e 

Hat Racks 

(See Chairs) 

Half-Timbers 15-<f 

Hot Beds 

Exterior ■ . . 1 1-a, b 

Interior 16-a 

I 

Ironwork 16-c, d 

K 

Keene's Cement, Enamel 

Finish for 38-i 

Page five 



I ndex — Continued 



L 

SURFACE Page 

Ladders \6-b 

Lattice Work 11-^, b, IS-e 

Lawn-mower x6-b 

Lawn-Roller l6-b 

Leather 16-/, IS-a 

M 

Mail Boxes ll-a, b, 15/ 

Metal Exterior 15-/, 16-c, d 

Muslin 

To Paint 32-r, 34-a 

P 

Pergolas 1 1-^, b, 15-f 

Picture Frames 

To Gild 39-r 

Plaster 32-c, 54-^, 37-b, 3S-«, c, d 

Plaster Board 

(See Plaster) 

Porch Furniture 1 5-c 

Pumps 

Wood ll-a, ^,14-^ 

Iron \h-b, c 

R 

Radiators 41/' 

Rafters 15-^ 

Refrigerators 

(Exterior, See Woodwork. Interior) 
Interior 39-a 

Relief Work 

Metal 37-r 

Plaster }7-c 

Roofs 

New 15-a' 

Old U-e 

Tin 15-/, \6-d 

S 

Screens 15_^ 

Sheds \^-d, e 

Sheeting, Tin and Metal .... 15-/, 16-J 

Shelves 30-a 

Shingles 

To Stain 1 i-/ 

To Paint 14-,- 

Shutters ll-a, b, \\-e 

Page six 



S 

SURFACE Page 

Siding 

New ll-a 

Old 11-^,14-^ 

Rough \S-d 

Sign-Boards ll-a, b, 15-/ 

Silos 

E.xterior 

Wood li-d, e 

Metal \(i-d 

Concrete 14-r 

Interior 15-a 

Silverware, To Clean 16-^ 

Sinks 39-a 

Sleds 16 Z- 

Sleighs 1 6-Z' 

Sprinkling Cans 15-/ 

Steel, Ceilings of 1)1 -c 

Step-Ladders \G-b 

Steps 13-(? 

Store-Fronts I6-1:, 1 l-a, b 

Storm-Porches 1 1-a, b 

Stove-Pipes 39-i 

Stucco 

Exterior 14-c 

Summer-Houses ll-a, b, \\-e, 15-(? 

Swings 15-c 

T 

Tables 

(See Woodwork, Interior) 

Tennis Racquets 1 S-/? 

Tin Sheeting 15-/ 

Tools and Implements XGb 

Trunks H-a 

W 

Wagons \u-b 

Walls, Exterior 

Brick 14-c 

Cement 14-f 

Concrete 14-f 

Stucco . 14-i: 

Weather Board ll-a, i, \\-e 

Wood, Siding 

Old \\-b, W-c 

New \\-a 



1 ndex— (Continued 



w 

SURFACE Page 

Walls, Interior 

To Knamel 38-rt 

To Kalsomine 38-d 

To Mottle and Blend 34-a 

To Paint, Flat 32-a 

To Stain (Wood) 26-b 

To Stencil 37-b 

To \'arnish (Wood) 27-a 

To Water Pai.U 38-f 

Water-Pipes 41-i 

Water-Tanks U-b 

Water-Towers 1 l-a, b, 16 J 

Wheelbarrows 164 

Wicker Work 
(See Baskets) 

Windmills ]\-ci, h, \G-d 

Woodwork, Exterior 
To Paint 

New 11-a 

Old \\-b 

To Stain \S-d,e 

To Varnish 

New I A-a 

Old 14-a 

To Give Mahot;an\- Finish 13-c 

Woodwo-k, Interior 

To Enamel 21-b 

To Gi\e Mahogany Finish 27-f 

To Grain 19-b 

To Paint .' 30-a 

To Refinish 29-a 

To Stain 26-a 

To Varnish 27-a 

To Wax Finish 2G-h 

Sherwin-Williams Insecticides 19 



Miscellaneous 
SURFACE Page 

Automobiles and Other Surfaces 

To Wash IS-/; 

To Polish l.S-f 

To Dust and Polish \%-d 

Brushes 

Exterior 10-c 

Interior ^. 25-^ 

Color Plate Effects V^)A%-incl. 

Don'ts 42-43 

Drying 23-^ 

Estimating 

Interior 20-/ 

Exterior \Q-d 

Filling Cracks in Plaster 23-d 

Furniture and Woodwork 

To Wash 20-^' 

Paints, How to Apply 

Exterior 10-/;, c 

Interior 25-/' 

Preparing Surfaces to be Painted 

Exterior 10-a 

Interior 23-d, 2S-a 

Removing Paint and 

Varnish 25-^, \Q-a 

Rubbing 23-c 

Selecting Wood Finishes 20-a, h, c 

Sherwin-Williams Products . S0-'^2-incl. 

To Make Room Appear Lower. . . 20-g 

To Make Room Appear Wider .... 20-A 

Trees, Shrubs, etc. 

To Protect 19 

Waxing 23-a 



Pa"c seven 



A Word of Caution 



^T^HE instructions set forth in this 
book are based upon the use of 
Sherwin-Williams Products exclusive- 
ly. As the paints, varnishes and other 
finishes of various manufacturers differ 
in many ways, it is essential that 
Sherwin-Williams Products be used, 
and used exactly as specified, if the most 
satisfactory results are to be secured. 
There are 25,000 dealers selling Sherwin- 
Williams goods, but if you can not secure 
them conveniently, write us and we will 
see that you are supplied. 



Page nine 



Exterior Work 



(a) Preparing Surfaces — On new exterior work to be painted, 
apply S-W Orange Shellac with a brush over all knots and sappy 
places. On old work, first remove all loose paint, using a scraper or 
steel brush, S-W Taxite (a liquid paint and varnish remover), or a 
painter's torch. Putty all nail-holes after the priming coat (see 
page 1 l-a). 

(b) How to Apply Paint — Exterior paint should be applied with 
the brush not full of paint, and should be rubbed on to the surface 
well, by using a stroke from left to right and back again, or by using 
the brush in a rotary or circular movement. 

(c) Brushes — For painting exterior siding, use a 4-inch bristle 
brush. For exterior trimming the same kind of brush in 3-inch width 
will be most convenient to use. For the window-sash, a l>2-inch 
brush of the same character is recommended. 

For carriage and auto work, use a bear-hair or badger-hairbrush 
to apply the varnish. 

Exterior Estimating 

(d) By following these directions the reader should be enabled to 
obtain a very close estimate of the quantity of material necessary for 
exterior painting. This method, however, is for general work, and the 
result will be fairly accurate. No set method of estimating can be 
correct in every detail, as allowances must be made for a varying 
number of bays, gables and other projections, and for the difference 
in absorption of the various building materials. 

Frame, brick and concrete buildings are all figured alike, with 
the exception, of course, that a different paint is applied on concrete or 
brick structures than on those of wood construction. On frame build- 
ings, SWP, Creosote Paint or Mine, Mill and Factory Colors are 
most generally used. On concrete, cement, brick and composition 
building material of like nature, Concrete Finish should be used. 

To ascertain the number of gallons for body of building, measure 
the distance around the building and multiply by the average height. 
This will give the number of square feet to be painted. Divide this 
by 360 (number of square feet to the gallon SWP covers in two coats) 
and the result will approximate the number of gallons of SWP 
needed for the job. Then one-sixth of this quantity will represent 
the amount needed for cornices, trimming, etc. The same amount 
should be allowed for the sash. 

An average of 40 square feet has been established for one pair of 
blinds. If the number of blinds is multiplied by 40 and the result 
divided by 360, this will give the number of gallons needed for all 
blinds. 

Page ten 



Exterior Work 



If the porch ceiling is to be painted witii SWP, multiply its 
length by its width, which will give its area. Divide this by 360 for 
the number of gallons needed for that surface. If to be finished 
natural, estimate the number of gallons of Rexpar Varnish needed for 
two coats, divide area by 150 (covering capacity of Rexpar, two coats). 

Exterior doors of average size which are to be painted require 
about one pint of SWP. Doors of oak or other open-grained wood to 
be stained and varnished will require about one-half pint of stain, one 
pound of Paste Filler and one pint of Rexpar each. Pine or close- 
grained doors to be stained and varnished, require about one-half 
pint of stain and one pint of Rexpar each. 

Shingled roofs to be stained with S-W Preservative Shingle 
Stain, are usually treated with two coats — one dip coat and one brush 
coat. To determine the quantity, multiply the length of the house 
by its width and add one-third that amount which will give the 
approximate area of the roof. Divide this by 55 (covering capacity 
in square feet of Preservative Shingle Stain, two coats to the gallon) 
and the result will give the number of gallons necessary. 

Exterior Surfaces and How to Treat Them 

(a) NEW LUMBER— SWP, a prepared paint made in a wide range 
of colors should be usee to paint exterior woodwork, such as siding, 
trimming, sash, etc., using three coats. The paint should be thinned 
for use with pure raw linseed oil and pure spirits turpentine, as follows: 
For white pine, poplar, spruce, fir, gum (selected), redwood, California 
cedar and white cedar, use as first coat SWP in color selected, thinned 
with one gallon pure raw linseed oil and a pint of pure spirits turpen- 
tine to each gallon of paint; for second coat use SWP thinned with one 
pint pure spirits turpentine to each gallon of paint; for third or last 
coat, apply the paint just as it comes from the can (except very 
dark colors, in which case less oil and more turpentine should be used 
in the priming coat). For hemlock, cypress, Washington cedar, 
red cedar, hard pine (Georgia, Norway and Southern), use as first 
coat, SW'P in color selected, thinned with one-half gallon linseed oil 
and one gallon pure spirits turpentine to each gallon of paint; as 
second coat, use one-quarter gallon pure spirits turpentine to eac)' 
gallon of paint; for third coat, apply paint as it comes from the can. 

(b) OLD LUMBER — In painting old exterior woodwork, see that all 
loose paint is removed and that the surface is free from grease, soot, 
etc. Apply two coats of SWP, brushing out each coat well and allowing 
24 to 36 hours between coats for thorough drying. If any thinning is 
required, use only pure raw linseed oil and turpentine. On old wood 
about one-quarter gallon pure spirits turpentine and one-quarter 

Page eleven 



Exterior Work 



gallon pure raw linseed oil must be used to each gallon of paint in 
reducing the first coat to a thin consistency, to insure proper penetra- 
tion of the surface and thorough drying of the new coat of paint. 

(a) Porch Floors — To Paint — For new porch floors, use three coats 
of S-W Porch and Deck Paint. The first coat should be thinned for 
use with about one quart of pure raw linseed oil and one quart of pure 
spirits turpentine to each gallon of paint. Apply second and third 
coals as paint comes from can. For old floors previously painted, 
two coats of this paint will be sufficient. To treat canvas used on 
floors of sleeping porches, thin the first coat with one-half gallon of 
pure raw linseed oil to every gallon of paint and omit the turpentine. 
The second and third coats should be applied as the paint comes from 
the can. 

(b) Doors — Exterior — To Stain and Varnish — Apply a coat of 
S-W Golden Oak Stain or S-W Oil Stain (allow the oil stain to remain 
on the wood about ten to twenty minutes or until it penetrates the 
wood and wipe off surplus stain with a soft cloth). After allowing 
about 24 hours for thorough drying, the wood, if open-grained as is 
oak, chestnut, ash and similar varieties, should be treated with 
S-W Paste Filler in shade selected. The Filler should be thinned 
to the consistency of thick cream and applied with a coarse brush, 
wiping off the surplus Filler across the grain with burlap or excelsior, 
allowing only so "much of- the Filler to remain as has entered the 
pores of the wood and is intended to remain there. When allowed 
to set about 24 hours, the surface should be lightly rubbed with 
00 sandpaper. Finish this surface with two coats of S-W Rexpar 
Varnish, allowing about 36 hours between coats for thorough dry- 
ing and sandpapering the first varnish coat to a perfectly smooth 
surface with 00 sandpaper. If a dull surface is desired, rub the 
last coat with pumice-stone and oil after the varnish has thor- 
oughly hardened. Doors of close-grained wood, such as pine, cypress, 
etc., should be treated in the same way, but the Paste Filler should 
not be used. 

(c) Doors — Exterior — To Mahoganize Doors of Birch, Maple 
or Mahogany — First apply a coat of S-W Permanent Mahogany 
Stain No. 700 (made in Light Mahogany, Dark Mahogany and 
Brown or Antique Mahogany). After this is allowed to dry over- 
night the wood should be sandpapered lightly and treated with S-W 
Mahogany Paste Filler. (Follow instructions on page 26-a). After 
sandpapering to a perfectly smooth surface with 00 sandpaper when 
the Filler has been allowed to dry about 24 hours, apply two or more 
coats of S-W Rexpar Varnish or S-W Kopal Varnish reducing the first 
coat with about one pint of turpentine to a gallon of varnish. From 

Page thirteen 



Exterior Work 



36 to 48 hours of thorough drying must be given between coats, 
sandpapering the first coat of varnish to a smooth surface. For a dull 
finish the final coat can be lightly rubbed with pumice-stone and oil, 
or pumice-stone and water after the varnish has been allowed to 
become thoroughly hardened (after 48 hours). 

(a) Doors, Porch Ceilings, Boats, Canoes, Golf Clubs, etc. — 
To Varnish — S-W Rexpar Varnish or S-W Kopal Varnish should be 
used for varnishing these surfaces. For new work, apply three coats, 
thinning the first coat with pure spirits turpentine in the proportion 
of one pint of turpentine to one gallon of varnish. Allow 24 hours 
between coats and sandpaper first and second coats with 00 sand- 
paper. On previously varnished surfaces apply two or three coats 
of Rexpar r.s directed for new work, cleaning the surface thoroughly 
to remove spots, stains, etc., which would show up under the trans- 
parent varnish. 

{h) Doors — To Enamel — Apply two or more coats of S-W Master 
Painters Under-coating, S-W ODP or S-W^ Flat-Tone White to 
produce a surface and foundation for the enamel coat. Allow 24 
hours for drying of each coat and sandpaper with CO finishing paper, 
avoiding all brush-marks. After a perfect under-coating is secured, 
apply two coats of S-W Old Dutch Enamel, allowing 48 hours between 
coats for drying. 

(f) To Finish Cement, Concrete, Stucco and Brick — S-W 

Concrete Finish is suitable for surfaces of this kind. The parts to be 
treated with it should be dry and free from dust and grease. S-W 
Concrete Wall Finish should be applied as it comes from the can. 
For best results on concrete of ordinary texture, two coats are 
sufficient. For very smooth, hard surfaces, the first coat may be 
thinned v/ith pure spirits turpentine, using from a pint to a quart of 
turpentine to each gallon of paint. 

yd) Barns, Corn-Cribs, Fences and Sheds — To Paint — S-W 

Commonwealth Barn Paint (made in red and gray) is excellent for 
the exterior of such buildings. Stir the paint thoroughly from the 
V^ottom of the can and apply first coat thinned with one-half gallon 
pure raw linseed oil to each gallon of paint, using a good bristle brush. 
Second coat to consist of the paint reduced with about one-quarter 
gallon oil to a gallon of paint. Keep well covered when not in use. 
In painting an old surface, see that all loose paint is removed. 

ie) Roofs, Fences, Rough Lumber, etc.— To Paint — S-W 

Creosote Paint, a prepared material made up in a full line of good 
colors, is suitable for surfaces of this type. To apply, stir thoroughly 
from the bottom of the can and brush out well instead of applying in a 

Page fourteen 




Exterior Work 



thick, heavy coat. If necessary to thin, use about a pint or a quart of 
pure raw linseed oil to each gallon of paint. On old surfaces, sec that 
all loose paint is removed. 

(a) Perches and Inside of Chicken-Houses — To Protect— Use 

S-W Lime-Sulfur Solution or S-W Carbolic-ol. Apph- witti long- 
handled window or wall-paper brush, or apph' by spraying. 

(b) Screen Frames and Wire — To Paint — Use S-W Screen 
Enamel (made in black and green). Brush the surface well to remove 
dust. Appl)' a coat of the Screen Enamel, brushing it out well instead 
of apph'ing it in a heavy coat. Paint tlie frame with the same 
material or with SWP Black. 

(c) Porch and Lawn Furniture — To Paint — S-W Porch and 
Lawn Furniture Enamel is suitable for finishing all styles of porcli 
chairs, lawn-swings, benches, seats, with a high gloss, etc. Wash the 
article to be painted thoroughly and see that it is dry and free from 
grease. Stir the Porch and Lawn Furniture Enamel thoroughly 
before applying, and spread the paint on evenly, and not heavily. 
Use a soft bristle brush. If the material seems too heavy for certain 
work, it can be thinned slightly with pure spirits turpentine, using 
about a pint to a gallon of paint. 

(d) Shingles, Rough Siding, etc.— To Stain— Use S-W' Pre- 
servative Shingle Stain as it comes from the package after it has been 
thoroughly stirred with a broad, flat stick or wooden paddle. (Also 
stir frequently while using the stain). Apply two brush coats on lum- 
ber already in place, but shingles which h?\e not been laid should be 
given a dip coat before being laid and a brush coat inimediately after 
they arc laid. Do not soak the shingles in the stain. Dip them in and 
out rapidly. 

(i-) Rafters, Half - Timbers, etc. — This treatment is frequently 
undertaken in finishing the exterior lumber on dwellings, the walls 
of which have been constructed of concrete or stucco. First 
apply a coat of S-W^ Preservative Shingle Stain in color selected, 
and follow with two coats of S-W Pure Boiled Linseed Oil which should 
be thinned with pure spirits turpentine, using about one pint of 
turpentine to each gallon c f oil. 

(/) Tin and Metal Sheeting, Cornices, etc.— To Faint— S-W 

Cjalvani::ed Iron Primer (made in gray) should be used as the first 
coat for galvanized iron, sheet metal surfaces, etc. It i^ ready for 
application and sliould be brushed out thoroughh , ai/d followed 
within 48 hours with a coat of SWP in desired color. For the 
garbage-can, sprinkling-can, etc., apply a coat of Galvanized Iron 
Primer outside and inside. 



Exterior Work 



(a) Inside of Silos, Hotbeds, etc. — To Paint — For the painting of 
such surfaces and for lumber below the ground line, such as the ends 
of fence-posts, etc., apply S-W Carbolic-ol with a brush, and allow it 
to soak in thoroughly. This material acts as a preservative. 

(b) Farm Machinery, Wagons, Tools, Implements, etc. — To 
Paint — Use S-W Wagon and Implement Paint. See that the surface 
to be painted is clean, free from grease or oil and perfectly dry. Stir 
from the bottom of the can and touch up the bare and worn spots 
with a thin coat. Let stand until perfectly dry (about 24 hours) and 
apply a smooth, even coat over the entire surface, using a bristle 
brush. Keep well covered when not in use. 

(c) Iron Fences, Blinds^ Store Fronts, etc. — To Paint — S-W 

Verdelite, a satisfactory green, made in four shades, is suitable for 
surfaces of this character. Thin to paint consistency with S-W Pure 
Boiled Linseed Oil. Apply same after thoroughly stirring and brush 
out well instead of using in a thick, heavy coat. All loose paint 
on previously finished surfaces should first be removed. 

(d) Fire Escapes, Iron Blinds and Other Exterior Metal 
Surfaces — To Paint — S-W Metalastic (made in black, brown, 
green and gray), is an economical, durable paint for preserving and 
protecting metal surfaces. Before it is applied, all foreign susbtances, 
such as rust, scale, mineral and animal oil should be thoroughly 
cleaned off. On small surfaces, this can be accomplished with a wire 
brush. Where rust scale is deep seated, it is best to also use a gasoline 
torch. The Metalastic is ready for use, and requires only thorough 
stirring. Brush out thoroughly and evenly, filling in well around 
rivets and like places. Two coats should always be given — three are 
better. S-W Roof and Bridge Paint is another material which can 
be used to refinish rough lumber, metal, tin, etc. Instructions for its 
application arc the same as above. 

(e) Silver, Gold, Brass, etc.— To Clean— Use S-W Bras-Brite. 
Shake well in the can before using, and apply to the parts to be treated 
with a soft cloth, covering thoroughly. Allow to remain on the surface 
a few minutes and then polish with a clean woolen cloth. This finish 
is not intended for dull finished brass, but for that which has been 
finished with a high polish. Bras-Brite is put up in handy screw-top 
cans, in sizes ranging from half pints to gallons. This treatment is 
excellent for table silver, watches, etc. 

(/) Auto Seats, Buggy Seats, Backs, Chairs, etc.— To Dress 
Leather — Apply S-W Auto Leather Dressing with a soft brush and 
allow to dry thoroughly before subjecting to any use. 

(s:) Automobiles, Carriages, Buggies, Baby Carriages, etc.— 
To Refinish — It is essential before undertaking refinishing of this 

Page sixteen 



Exterior Work 



kind to see that the temperature under which the work is conducted 
is about 60, 65 or 70 degrees Fahrenheit. Thoroughly wash the 
surface to be treated, so that any grease which may be on it will be 
removed, and when it is completely dry, sandpaper the old varnish 
coat with medium or fine sandpaper and then dust off thoroughly. 
Flow on (that is, apply with the brush full) a coat of S-W Buggy 
and Auto Paint. It should be stirred thoroughly before using. After 
about 48 hours has been allowed to elapse, sandpaper this sur- 
face lightly and apply a final coat of S-\V Buggy and Auto Varnish 
Clear or a coat of S-W Carriage V'arnish. If a dull polish is desired, 
rub this varnish coat after it has been allowed to dry about 48 hours, 
using pumice-stone and oil for the purpose. 

In order that automobile-owners may maintain the good appear- 
ance of their cars by refinishing them themselves, we have brought 
out our Special Automobile Refinishing Outfit. It contains every- 
thing necessary for refinishing a moderate-sized car, and if the contents 
are used as directed, an automobile can be made to look like new with 
little trouble. 

ia) Carriage Curtains, Tops, etc. — To Dress — Use S-W Enamel 
Leather Dressing. Have the surface to be painted free from dust 
and thoroughly dry and apply a coat of S-W Enamel Leather Dressing, 
brushing out thoroughly. A second coat may be applied within a 
day's time, if desired. 

{b) To Wash Automobiles, etc. — First remove all mud by washing 
carefuU}-. Play a stream of water on the surface to be cleaned, using 
a hose without a nozzle, and held so close that the stream falls on the 
surface at an angle. Then wash off grease, dust, etc., as directed on 
page 20-^ for washing furniture. 

(c) To Polish Automobiles, etc.— Cleaned as directed in the pre- 
ceding, apply S-W High Polish Fluid Wax with a chamois or soft 
cloth, rubbing when the wax has been allowed about twenty to thirty 
minutes to dry. 

(d) To Dust and Polish Automobiles, etc. — When the surface is 
not muddy use S-W Polish-ol. Apply with soft rag dampened with 
Polish-ol, rubbing it rapidly over the surface. This treatment removes 
the bluish cast caused by dampness, etc. 

(e) To Recoat Tennis Racquets — Use S-W Pure Shellac. Brush on 
one or two coats, allowing about a day between applications. This 
treatment will serve to preserve the strings or gut and renew the finish 
of framework as well. 

Page eighteen 



Insecticides 



Th2 Protection of Trees, Shrubbery, etc., Against 
Insects and Diseases — The proper care of decorative shrubbery, 
ornamental shade-trees, flowers, etc., is of vital importance in assuring 
pleasant home surroundings. Every tree or plant is subject to attack 
by insects and disease. Spraying is recognized as the only adequate 
preventative and cure for these pests. Wonderful results can be 
secured with a very small expenditure of money, and the following 
brief information should be of interest to home-owners everywhere: 

In the Spring, before the buds burst and while the trees and 
shrubbery, etc., are still in the dormant state, a thorough spraying 
should be given with a mixture composed of one part Sherwin- 
Williams Lime-Sulfur Solution as it comes from the package, to eight 
parts of water. All branches, twigs and limbs should be thoroughly 
covered with this solution which tends to eradicate the scale insects 
which are prevalent in all parts of the countr}-. 

Later in the Spring, after the leaves have come out, another spray- 
ing should be given all shrubbery, using a mixture made of one gallon 
of Sherwin-Williams Lime-Sulfur Solution and one pound of Sherwin- 
\\ illiams Dry Powdered Arsenate of Lead in 50 gallons of water, 
spraying so as to cover all foliage. This application will prevent the 
inroads of leaf-eating and chewing insects, as well as all fungus 
diseases. 

A month or six weeks later, an additional spraying should be 
made, using exactly the same mixture as described in the preceding 
paragraph. The cost of this treatment is very small, and insures 
hardy, luxuriant foliage, free from blemish and insect infestation. 

Where the insect known as the Rose Louse is prevalent, it is well 
to make an additional spraying when the louse appears, composed of 
Tobacco Extract dic;solved in water. Satisfactory Tobacco Extracts 
can be purchased at any seed store, and full directions are usually 
given on the package. 

S-W Pruning Compound should be used to protect trees and 
shrubbery from which old branches have been removed. It should 
be applied at once o\er the wound, which should be cut clean and not 
jagged. LTse either a coarse, stiff brush or a putty-knife for the 
application. It seals the surface, prevents "bleeding" of the sap. It 
does not wash off with the weather. 

Further information and complete data on the subject of spraying 
the home garden can be procured upon application to the Insecticide 
Department of The Sherwin-Williams Co. 

Page nineteen 



General Directions— interior 

How to Select Finishes for Interior 
Wood Surfaces 

(a) Open-Grained Woods, such as oak, ash and chestnut, can be 
filled with S-W Paste Fillers (which can be had in shades to match 
finish desired) or given the JVIission effect by finishing without the 
filler using varnish or stain and varnish. Where the wood is to be 
stained it is necessary to use the stain before the filler. The natural 
finish may be produced with one of the Paste Fillers and Varnish. 

(b) Close-Grained Woods, such as pine, cypress, fir, redwood, 
spruce and hemlock, do not require the use of Paste Fillers. They can 
be finished natural with varnish, with shellac and wax, or they can be 
stained and varnished or stained and waxed. 

(c) Whitewood, Poplar, Cottonwood and Birch are excellent 
for enamel work. Pine can be used, but requires a first coat of S-W 
Shellac to bind rosin or pitchy sap. 

Helpful Suggestions 

(d) To thin S-IF Golden Oak Stain, S-JV Oil Stain and Famishes, use 
turpentine; to thin S-W Handcraft Stain, use S-W Handcraft Stain 
Reducer. 

{e) To wash furniture and- zvoodwork, use S-W Flaxoap with three 
buckets of water and two sponges. One bucket and sponge should be 
used for the soap and water washing, another bucket and sponge for 
first rinsing, and the same sponge with the third bucket of clear water 
for second sponging. 

(/) To remove paint and varnish from window-panes or other glass 
surfaces, use hot acid vinegar, or for a more simple method, apply 
S-W Taxite to soften the paint when it can be scraped or wiped off. 
(g) To make a high room look lower, use a drop ceiling; that is, bring 
the ceiling color on to the wall for about 16 to 24 inches according to 
the height of the room. 
(A) To make a narrozv room look wider, use a plate rail or chair rail. 

Interior Estimating 

(?) In estimating the amount of materials required for interior 
decoration, it is necessary to figure each room separately. The three 
dimensions of the room are necessary. 

To determine the quantity of Flat-Tone for three-coat work on 
the ceiling, multiply the length by the width which gives the square 
feet of ceiling area, divide this by 225 (covering capacity per gallon 
of Flat-Tone for three coats). This will give the approximate number 
of gallons required for the ceiling. 

Page twenty 



General Directions— Interior 



The quantity of Flat-Tone required for three-coat work on tiie 
walls can be estimated in the following manner: Multiply the 
distance around the room by the height. This gives the number of 
square feet of wall space. Subtract from this 20 square feet for each 
window and 21 square feet for each door. Divide the number of 
square feet which remain by 225 (covering capacity in square feet 
of Flat-Tone for three-coat work). This gives the quantity in gallons 
required for the walls. The first coat of Flat-Tone should be mixed 
in equal parts with Flat-Tone Mixing Size. If the number of gallons 
of Flat-Tone needed for the ceiling and walls be added and the result 
be divided by 6, it will give the amount of Flat-Tone Mixing Size 
necessary for both ceiling and walls. 

For estimating materials required for blended or stippled walls, 
write the S-W Decorative Department and information will be 
furnished. 

In a room of average size (about 12 by 15), there is usualh' the 
following woodwork: 

2 Doors (21 square feet each) .... 42 square feet. 
Baseboard (6 inches high) 27 square feet. 

3 Windows (20 square feet each). . 60 square feet. 

Total 129 

The distance around the room multiplied by the height of the 
baseboard gives number of square feet in the baseboard. Should the 
surface be finished natural by applying a coat of Shellac and then two 
coats of Scar-not Varnish the procedure willbe as follows in estimating : 
Divide the square feet of woodwork by 480 (covering capacity 
per gallon for one coat of Shellac) which will give the number of 
gallons of Shellac necessary. Multiply the square feet of woodwork 
by 2 (for two-coat work) and divide by 300 (covering capacity of 
Scar-not to the gallon), the result giving the number of gallons 
Scar-not Varnish needed. To determine the number of gallons of 
stain required for woodwork, divide the area of the surfaces to be 
treated by 480 (number of square feet Handcraft Stain covers to the 
gallon). If filler is to be estimated, divide the area in square feet by 
30 (which will designate the number of pounds needed). 

For a white enamel finish, divide the area of woodwork in square 
feet by 250 (covering capacity of one gallon of under-coat for three- 
coat work). This will give approximate number of gallons for under- 
coating. Divide the square feet of woodwork by 250 which will give 
the number of gallons required for one coat of white enamel. 

If floors are to be finished natural, three coats of Mar-not will be 
necessary. Multiply the area of the floor (length times width) by 
3 and divide by 480 (covering capacity Mar-not one gallon, one coat). 

Pase twenly-two 



General Directions— Interior 



To estimate for floors to be stained, divide area of floor by 480 
(number of square feet Handcraft Stain and Handcraft Stain Reducer 
cover per gallon) which will give the number of gallons of Handcraft 
Stain Reducer with which about one-sixth as much Handcraft Stain 
should be used. 

(a) Waxing — The wax intended for polishing, usually comes in paste 
or semi-solid form. S-W High Polish Fluid Wax is one exception. To 
apply wax, rub a soft cloth well on the wax and then vigorously rub 
the cloth on the woodwork so that there will be a sufficient amount 
of heat generated by friction to partially melt the wax. When used 
in this way, a smooth, even coat of the wax can be applied. Often 
the cloth is wound around a weighted brush or other article to gi\c 
weight and increase the heat of friction. To estimate the number of 
pounds of Floor Wax required, divide the area of the floor by 250 
(covering capacity of Floor Wax per pound.) 

(b) Drying — If a preceding coat of paint, varnish, enamel, stain, 
etc., is not allowed to dry sufficiently before applying finishing 
material, difficulty may arise. Neither is it advisable to allow the 
coats too much time to dry, for if bone hard, the surface will not have 
enough "tooth" or hold for the new material. 

(t) Rubbing With Pumice-Stone and Oil — In many of the in- 
structions in this booklet, rubbing with pumice-stone and oil over 
varnished and enameled surfaces is directed. The purpose is to pro- 
duce a dull-polished non-gloss surface. Use powdered pumice which 
can be bought at any drug or hardware store. A half pound will be 
plenty for the woodwork or floor in a room of average size. Dip a 
nail brush or vegetable brush, or a soft cloth in ordinary sweet oil 
or in linseed oil and then in pumice, and then rub back and forth 
on the surface t:) be treated, working on about a square foot at a time. 
About 12 or 15 strokes on each part of the surface will serve to wear 
down the gloss and give the desired effect. If any pumice remains on 
the surface, it can be wiped off easily. 

(d) Filling Cracks in Plaster — A wall should present an unbroken 
surface before it is decorated. If there are cracks or nail-holes, they 
can be filled until even with the surface. Use plaster of paris. Mix 
with water to form a thick paste. To keep the paste in this consistency, 
add a very little water to it as you go along, and as the preparation 
thickens. Force this paste into the cracks and holes with a flexible 
knife, such as is used for cake-mixing, or with the fingers. If this 
mixture is allowed to stand until it becomes hard, it can not be used 
again, and should be discarded and a new batch should be made. 

Pat;'' twenty-lhrer 



General Directions — Interior 



(a) Paint and Varnish Remover— S-W Taxite removes paint or 
varnish from any surface and does not interfere with the drying or 
durability of subsequent coats. Taxite does not injure the skin, dis- 
color the most finely grained wood, nor soften glue. It is manu- 
factured in both liquid and semi-liquid form, the latter is for use on 
vertical surfaces. 

Apply one coat witn a brush and allow to stand for ten or 
fifteen minutes. Then scrape off with a blunt knife or piece of glass. 
Clean with benzine, gasoline or wood-alcohol (being careful to have 
no fiame near) and the surface is ready for refinishing. Do not rub 
Taxite in with the brush. If the first coat fails to remove the paint or 
varnish, apply another coat and allow to stand ten or fifteen minutes 
before scraping and cleaning. 

♦BRUSHES— HOW TO USE 

(b) To apply varnish so that it will be free from bubbles, use an oval 
or flat chisel brush, ranging in width from 1 inch to 4 inches, according 
to the size of the surface to be varnished. 

For painting interior walls and ceilings, use a 43^2-inch or Sc- 
inch bristle brush. Either is convenient to use; the inexperienced 
person will probably prefer the smaller. The same kind of brush or a 
4-inch fitch brush may be used to apply tinted Glazing Liquid with 
which preparation mottled and blended effects can be secured, and 
to apply stain for woodwork, floors and furniture. 

Keep varnish brushes in turpentine, other brushes may be left 
standing in water, provided they have been cleaned. If brushes 
become stiff with paint, heat vinegar to the boiling point and allow 
them to stand in it, or, use S-W Taxite, the paint and varnish remover. 

Paint for interior walls and ceilings should be applied with a 
long, even stroke from side to side. Woodwork finishes (stain, varnish 
and enamel) should be applied in the direction in which the wood 
grain runs. 

Glazing Liquid when tinted for mottled and blended effects can 
be applied with almost any stroke, or even by striking the brush 
broadside against the surface. It should not be applied thinly, for 
as much color as the brush will hold without dripping, should be used. 
It is advisable to work quite rapidly with the Glazing Liquid, so that 
it will not set before there is time to mottle the color with the cloth or 
sponge advocated for the purpose. It is well to have an assistant for 
the glazing process, so that while one applies the paint the other can 
follow to do the blending. 

*Note — Some brushes may only be designated by their trade name, and 
your dealer can supply you with the right kind. 

J'ii^e tvseniy-five 



Interior Work 



(a) New Woodwork and Furniture — To Stain and Varnish — 

There are open and close-grained woods to consider under this head- 
ing. To stain baseboards, doors and other open-grained interior 
woodwork, use S-W Golden Oak Stain or S-W Handcraft Stain in 
color adapted to the wood (for further detail on this subject, see page 
20-a, b, c). Apply with a soft fitch brush (see page 2S-b), and after 
allowing about 24 hours for thorough drying, spread on the surface 
a thin paste made of S-W Paste Filler in desired color (S-W Fillers 
are made in Antique Oak, Golden Oak, Red Oak, Mahogany, Walnut 
and Transparent Shades) thinned to a creamy consistency with 
turpentine. The filler will harden as it is allowed to dry. But, before 
it becomes dry (that will be in about 20 minutes after application), 
wipe across. the grain of the wood — the direction opposite to that in 
which the streaks in the wood run — using burlap or excelsior. After 
allowing filler to set for about 24 hours, follow with a thin coat of 
Shellac, and after allowing it to dry about 24 hours, sandpaper lightly 
and apply two coats of S-W Scar-not Varnish or S-W Excello Varnish. 
Lightly sandpaper the first coat after it has been applied for 24 hours, 
and rub the last coat to a dull polish with pumice-stone and oil or 
pumice-stone and water, when it has been on 48 hours. 

Note — When surfaces are to be subjected to an unusual amount 
of moisture, instead of the Shellac Coat it is best to use S-W Scar-not 
Varnish immediately over the filler, reducing the first coat of varnish 
in proportion of one pint of turpentine to one gallon of varnish — the 
succeeding coats to be applied as the varnish comes from package. 

Close-grained zvood, such as pine, cypress and birch, should be 
treated the same except that the use of the paste filler should be 
omitted. 

A dull polish or non-gloss finish may be produced on wood sur- 
faces not exposed to foot-wear without the labor of rubbing with 
pumice-stone and oil, by using S-W Velvet Finish Varnish No. 1044 
as a last coat. 

{b) Woodwork, Furniture, etc. — To Wax Finish — A wax surface 
can be produced over any finish on woodwork by applying a final 
coat of S-W Furniture Wax. To produce a wax finish when staining 
woodwork and for moderately-priced work, apply one coat of S-W 
Handcraft Stain in the desired color and allow to dry overnight. 
Then use one coat of S-W Mission-lac which after drying about 24 
hours should be followed with a coat of S-W Furniture Wax. The 
latter should be applied with a soft cloth, rubbing off all surplus wax, 
and in this way giving the surface a polish. Although this finish is 
not as durable and protective as one employing a varnish such as 
S-W Scar-not Varnish, it serves satisfactorily where moderatel}- 
priced work rather than a lasting finish is required. 

Page Iwenly-six 



Interior Work 



(a) Natural or VarnislL Finish for Woodwork, Chairs, etc. — 

On woodwork, such as oak and chestnut which ha>s an open 
grain, use S-W Paste Filler in desired color. After the filler has been 
allowed to set about 20 minutes and before it can become thoroughly 
hardened, wipe off the surplus filler — that which has not entered the 
pores of the wood — by using a piece of burlap or a handful of excelsior 
across the grain of the wood. When thoroughly dry (after 24 hours) 
apply two or three coats of S-W Scar-not Varnish or S-W Excello 
Varnish, allowing 24 hours for drying between coats and sandpapering 
the first coat lightly with 00 finishing paper, rubbing the last coat 
with pumice-stone and oil or pumice-stone and water to a dull finish 
(after 48 hours). Close-grained -wood, such as pine, cypress and birch, 
may be similarly treated except that the paste filler is not required, 
and in place of it a coat of S-W Pure White Shellac should be used, 
sandpapering it when dry before applying the varnish coat. 

(b) Woodwork or Furniture — To Enamel — Whitewood, poplar or 
birch, permit of producing the best enamel finishes. Pine, c\-press, 
etc., can be used, but should be first coated with Shellac which will 
prevent pitch or sap in the wood from discoloring the enamel. To 
produce the proper white under-coating for the enamel — which is 
semi-transparent and should be used for the final coat or coats — 
apply S-W Master Painters Under-coating or S-W Flat-Tone White 
in three or more coats. After allowing 24 hours for drying, lightly 
sandpaper each coat with 00 sandpaper. Do not drag the sandpaper 
in the same direction with the brush strokes, if there are any of the 
latter, but use it across the streaks left by the brush. Then apply one 
or more coats of enamel, using S-W Old Dutch Enamel, S-W Snow 
White Enamel or S-W Enameloid White (the latter should not be 
used where a rubbed finish is desired). For fine interior work, rub 
the last coat of enamel to a dull polish with pumice-stone and oil or 
pumice-stone and water. To secure a dull finish without rubbing, use 
S-W Old Dutch Enamel Dull for the last coat. 

(c) Mahogany, Birch or Maple — To Mahoganize— Apply one 

coat of S-W Permanent Alahogany Stain No. 700 (made in Light 
Mahogan}', Dark Mahogany and Brown or Antique Mahogany). 
Allow 24 hours to dry and sandpaper very lightly with 00 finishing 
paper. Then fill the grain of the wood (maple and similar woods do 
not require the filler) with S-W Mahogany Paste Filler, wiping off 
across the grain with burlap or excelsior before the Filler has become 
hard. After 24 hours, apply a coat of S-W Pure White Shellac, and 
when it has been allowed to dry a day and a' night, sandpaper it 
lightly with 00 finishing paper. Then apply two coats of S-W Scar- 
not Varnish, the first of which should be sandpapered after being 
allowed to dr}' 24 hours and the second rubbed with pumice-stone and 
oil to a dull polish after standing 48 hours. After another day, polish 

Pi:xe lu'en'.\-seven 







Plate 1 

(See Page 48 for Specifications) 



Plate 2 

(See Page 48 for Specifications) 



Interior Work 



with rottcnstonc (a greasy subslancc to be had at any hardware store). 
{a) Woodwork and Furniture— To Refinish— To produce the 
effect of a stained and varnished surface without removing the old 
finish, apply a coat of S-W Brighten Up Ground, allowing this to 
dry 24 hours. Then use a Brighten Up Stain in color desired, applying 
as it comes from the can. As this coat is being brushed on, and 
before it can dry (work at about a square yard at a time), drag an 
old, clean whisk-broom over the surface to suggest the grain of the 
wood by the streaks its bristles leave. This Brighten Up Stain Finish 
dries with a gloss, but a dull finish can be obtained by following with a 
coat of S-W Velvet Finish Varnish No. 1044. This\'arnish dries flat. 

To revarnish a surface which is not badly discolored, remove 
grease, stains and other substances which may not be apparent but 
exist on a used surface — by washing with soap and water. When the 
article is dry, apply one or two coats of S-W Scar-not Varnish, allowing 
not less than a day between coats for drying. The first of the two coats 
should be lightly rubbed with 00 sandpaper just before applying the 
next coat, and the glossof the last coat maybe rubbed to a dull polish 
with pumice-stone and oil after it has been allowed to dry forty-eight 
hours. 

{b) Previously Finished Wood Surfaces — To Grain — Old wood- 
work, cupboards, furniture, etc., where it is desirable to give an 
appearance similar to the stained and varnished finish on new work, 
should be treated as follows: Clean the surface thoroughly by washing 
and rinsing well. Allow to dry — sandpaper smooth any rough spots 
and remove loose paint. Then apply a coat of S-W Brighten Up 
Stain Ground. Stir this material thoroughly and apply with a 
four-inch, flat bristle brush. Keep the material stirred as applying 
same, but should it become too thick for easy application, add just 
enough turpentine to bring it back to its former consistency. This coat 
of paint, which covers up the old finish, should dry a day or so before 
proceeding with the work. For the second coat, use S-W Grain- 
ing Preparation. Brush the same smoothly over the surface, 
covering about an arm's length of surface. Then immediately go over 
that surface with the graining tool, using it as described in the 
following: When the entire surface has been gone over with the Grain- 
ing Preparation and the graining tool, allow the same to dry for a day 
or overnight. Then follow with a coat of S-W Brighten Up Stain. 
Use Brighten Up Stain Mahogany, Cherry, Rosewood or W'alnut 
only over the simple, straight grain, as described below under (1). 
For a dull effect over the Brighten Up Stain, apply a coat of S-W 
Velvet Finish X'arnish No. 1044, as above recommended. 

The graining tool, which is so made that it produces three (1), 
(2), (3) different kinds of grain, is used much like a brush. On one 
end the rubber is so cut that it gives the simple, straight grain (1). 

Page Iwenly-nine 



Interior Work 



This suggests such woods as Birch, Wahiut and straight-grained 
woods. To make this grain, take the tool firmly in the hand and place 
its flat surface on the wood and simply draw the tool along the surface 
of the wood, holding it so that the fingers do not touch the surface, 
and keeping this same angle throughout the stroke. 

On the rounded surface of the tool the rubber is so cut that a 
plain oak grain can be produced (2). Hold the handle in a vertical 
position and then rock the tool in the direction of the grain as you 
glide the tool along — a little practice will soon show you how to 
handle the tool for best results. To more clearly represent the actual 
oak graining, go over the surface (immediately after the above grain- 
ing has been undertaken) with the straight edge of the tool as in (1). 
To produce the quartered oak grain, use the side of the tool marked 
by the irregular pieces of rubber (3). Simply draw this end of the 
tool across the graining preparation with a rocking motion, and then 
reverse the handle and use the straight edge as in (1). 

Note — Always use the graining tool in the same direction as the 
original grain. 

To refinish as in nezu work, first remove old wax with turpentine 
and old paint or varnish with S-W Taxite as directed on page 2S-a. 
When the original surface of the wood has been exposed in this way, 
proceed as directed for new work on pages 26 and 27. 

{a) Woodwork, Shelves, etc.^To Paint — An excellent material 
with which to refinish kitchen furniture, woodwork, shelves, etc., is 
S-W Family Paint. It is easy to apply and comes in beautiful colors. 
Make certain that the surface is free from grease and perfectly dry, 
and apply the paint in two coats as it comes from the can after being 
thoroughly stirred. Allow about 24 hours for drying between coats. 

{b) Floors — To Varnish — First apply S-W Paste Filler (see page 
26-a,) in desired color, if the floors are of oak or another open-grained 
wood. When thoroughly dry, that is, after about 24 hours, sandpaper 
the surface till smooth with 00 sandpaper. Then apply three coats of 
S-W Mar-not' Varnish, the first coat to be thinned with one pint of 
pure spirits turpentine to each gallon of IMar-not. The other coats of 
varnish should be applied as the material comes from the can. See 
that each coat is given about 24 hours to become dry before applying 
the next. For a dull finish, the last coat should be rubbed with pumice- 
stone and oil after it has been allowed to dry at least 48 hours. 

Floors of pine and similar close-grained wood do not require paste 
filler. Aside from this, however, treatment of them should be as 
directed above for the natural varnish finish. 

Note — Where floors are finished with S-\A' Mar-not \'arnish, 
never use liquid fillers or shellac as under-coatings. 

Page thirty 



Interior Work 



(a)^ New Floors— To Stain— If a color darker than the natural is 
desired on oak and other open-grained wood floors, apply a coat of 
S-W Handcraft Stain diluted sufficiently to ?ive the right color with 
Handcraft Stain Reducer, or use S-W Oil Stain thinning a gallon of 
stain with a half gallon of turpentine (after allowing stain to take 
effect about 20 minutes after application, wipe off the surplus stain 
with a soft cloth). After about 24 hours, follow the stain with a coat 
of S-W Paste Filler in color desired, and before it has set hard (within 
20 minutes of application) wipe off across the grain with burlap or 
excelsior. When this in turn is dry, apply three coats of S-W Mar-not, 
thinning the first coat with one pint of pure spirits turpentine to each 
gallon of Alar-not \'arnish and using the second and third coats as 
Mar-not comes from the can. Allow 24 hours for thorough drying 
between coats and rub each coat except the last with 00 sandpaper. 
For a dull finish the last coat should be rubbed with i>umice-stone 
and oil. 

Pine floors may be treated in the same manner, omitting the use 
of the paste filler. 

(b) Floors — To Wax — To produce a wax finish on new floors and 
retain the natural color of the wood, apply a first coat of S-W Natural 
Paste Filler if the wood is open grained like oak, chestnut and ash. 
When the filler has been allowed 24 hours for drying after that part 
of it which did not fill the pores of the wood w^as wiped off across the 
grain with burlap, apply one or two thin coats of S-W' Pure White 
Shellac, allowing 48 hours for each coat to dry. Then apply one of the 
following: S-W Floor Wax, S-W High Polish Fluid Wax, S-W Floor- 
wipe or S-W Polish-ol with a soft cloth, or S-W Dancing Floor Wax 
sprinkled on, bringing the surface to a wax polish. Pine floors may be 
treated in the same manner, omitting the use of the Paste Filler. 

Floors which are to be stained before being given the wax finish 
should receive a coat of Handcraft Stain diluted sufficiently to give 
the right color with Handcraft Stain Reducer and this should be 
allowed to dry overnight. Then proceed as directed above for the 
application of Paste Filler, Shellac and Wax. 

(c) Floors — To Paint — It is on old floors which have been badly 
discolored and on which a moderately-priced finish is dtesired that 
painting is usually undertaken. The surface should be first cleaned 
and entirely freed of grease and moisture. Two coats of S-W Inside 
Floor Paint should be applied, allowing 48 hours between coats. 

(d) Floors — To Refinish — To refinish floors that are in unsatisfac- 
tory condition and secure effects such as can be had on new work, 
remove the old finish to expose the original surface of the wood. The 
method of procedure for this operation is to take off the wax with 

Pijijc tiiirty-onf 



Interior Work 



turpentine and to soften the varnish, shellac or paint on the surface 
with S-W Taxite as directed for the use of that material on page 
2S-a. When the floor has been restored to its original unfinished 
condition in this manner, varnish or stain and varnish as directed 
for new work, pages 30-b and 3l-a, b. 

To refinish old floors and give the effect of a stained and var- 
nished surface without removing the old material, use S-W Brighten 
Up Finish Floorlac. First apply a coat of Floorlac Ground as it 
comes from the can after making certain that the surface is free from 
grease. When 48 hours have been allowed for thorough drying, apply 
a coat of S-W Floorlac in the color selected, using a rather coarse 
brush for the application and then pulling an old clean whisk-broom 
over the surface before the finish has set hard. Only such amount of 
surface should.be covered as can be conveniently handled in the above 
process. When the entire floor surface has been treated in this manner 
and after the Floorlac in color has dried for 48 hours, follow with one 
or two coats of Floorlac, Clear or S-W Alar-not Varnish. This 
surface can then be treated with S-W Floor Wax, if a wax finish is 
desired. 

{a) Old Floors — To Grain — Apply a coat of S-W Floorlac Ground 
over the floor surface after it has been thoroughly cleaned, allowing 
this coat to dry overnight, and then apply a coat of S-W Graining 
Preparation, following instructions as given under page 29-b, for 
using graining tool. Section 53, for graining of previously finished 
wood surfaces. Use as a surface finish S-W Floorlac in place of 
S-W Brighten Up Stain required for woodwork, etc. Then follow the 
Floorlac coat with two coats of S-W Floorlac Clear, or S-W Alar- 
not Varnish, sandpaper lightly between coats with 00 sandpaper. 
The last coat of finish can be gone over with S-W Floor Wax if a 
wax finish is desired. 

{b) Floors — To Oil — An oil finish is often favored as an inexpensive 
treatment on store and kitchen floors. It is best to oil floors im- 
mediately after they have been laid and before dust and other particles 
have been ground into the wood. Have the surface clean, free from 
spots and thoroughly dry. Apply S-W Special Floor Dressing Oil 
or S-W Floorwipe with cheese-cloth, using as much material as the 
wood will absorb, rubbing the same into the wood thoroughly. Allow 
to dry before using the surface. 

(c) Rough or Smooth Plaster, Unprepared Canvas, Muslin 
and Plaster Board— To Paint — Apply three coats of S-W Flat- 
Tone Liquid, the first coat to consist of equal parts Flat-Tone and 
Mixing Size and the second and third coats of Flat-Tone Liquid as 
it comes from the can after being thoroughly stirred. Allow 24 hours 

Page ihirly-lwo 





Plate ! 
(See Pace 48 for Specifications) 



Plate 2 
(See Page 48 for Specifications) 



Interior Work 



for thorough drying between coats. Jf Liquid Flat-Tone is a trifle 
heavy for second and third coats, it may be thinned with pure spirits 
turpentine, using about a pint of turpentine to a gallon of paint. 

For walls and ceilings of prepared canvas, prepared muslin or 
other prepared fabrics, sized plaster board or primed metal, apply two 
coats of S-W Flat-Tone Liquid as it comes from the can, allowing 24 
hours for thorough drying between coats. If the Liquid Flat-Tone 
is a trifle too heavy, it may be thinned with pure spirits turpentine, 
using about a pint of turpentine to a gallon of paint. 

To paint a glossy surface, it is advisable to first sandpaper the 
surface lightly to reduce tlie gloss as much as possible before applying 
the paint. Then apply S-\V Flat-Tone in two coats as it comes from 
the can after thoroughly stirring. Allow 24 hours for thorough drying 
between coats. If the plaster shows in any worn spots, treat those 
parts with a first coat of Flat-Tone to which a small quantity of pure 
raw linseed oil has been added, using about a quart of oil to a gallon 
of paint. 

To apply Flat-Tone to a surface previously finished with a water- 
paint or kalsomine, wash off old paint with soap and water and proceed 
with the application of Flat-Tone Liquid as directed for new work in 
the first part of these instructions. 

It will be advisable to cover up the woodwork and floors as much 
as possible when washing off the water paint to prevent soiling them. 

To use Flat-Tone on surfaces previously papered, soften the 
paper by using warm water on it with a cloth or sponge so that it 
can be scraped off with a chisel, putty-knife or other blunt implement. 
When the paper has been thoroughly cleaned off the surface in this 
manner and after any cracks that may be in the plaster have been 
treated or filled as directed on page 23-^, proceed with the applica- 
tion of Flat-Tone Liquid as for new work. 

(a) Interior Walls— To Finish in the Glaze Effect— S-W Glaze 

Effects for walls give a flat surface, with either a blended or mottled 
treatment. The blended (1) is that which shows the color light at the 
upper portion of the wall and dark at the lower, with the middle 
portion in the color half-way between the two, blending from the light 
to the dark. The mottled treatment (2) is that which shows two or 
three colors evenly distributed over the wall surface, but these two 
or three colors give a pleasing iridescent color, for instance, of a 
greenish, gray-blue — if green, gray and blue are used — or a warm 
russet-brown shade — if yellow, green and red are used. 

To produce these effects the same under-coating of Flat-Tone is 
required. This should be applied as directed for Flat-Tone finish on 
plaster wall surfaces, etc., page 32-c. 

Page thirty-four 



Interior Work 



To jrlazc the Flat-Tone surface, use S-W Cllaziuj^ Liquid and S-W 
Glaze Colors, and apply roughly to the wall surface with a good sized 
wall-brush. 

A mixture of a brushing consistency is obtained with the Clazin;^ 
Liquid and the Glaze Color, the latter coloring the former (which is 
a colorless material) and giving it a shade corresponding to the Glaze 
Color used. For medium colors about J4 pound tube of Glaze Color 
should be added to 1 quart of the liquid. Better to add less than that 
at hrst, to avoid too dark a shade. 

Directions for Producing (I) the Blended Treatment — About 
one-quarter of the mixture of Glazing Liquid required for the 
entire wall work should be poured into a separate receptacle. The 
remainder of the liquid should then be mixed with the necessar}" 
Glaze Color. After color and liquid are thoroughly mixed pour about 
one-third of this mixture into the can containing the uncolored Glazing 
Liquid. This gives one part of a light mixture and an equal part of 
the dark. Apply the light mixture roughly with a brush to the upper 
half of the wall, covering only such a portion of the wall as can be 
conveniently handled by the one or two workers. Appl}- the darker 
mixture to the lower wall, overlapping the lighter color, so that the 
blending will begin a little higher than the middle line of the wall. 
Then proceed to finish the surface, eliminating all brush-marks by 
going over it with a regular wall stipple brush or with a crumpled 
cloth held loosely in the hand. 

To Use the Stipple Brush, which is a large, long, stiff-haired 
brush, hold it flat against the surface so that the hairs are at right 
angles to the wall, raise it two or three inches from the wall and then 
strike the wall gently with the brush; go over the entire surface until 
a pleasing e\'en effect is produced, wiping the brush with a clean cloth 
as frequently as it is required, so that the color will not be changed. 
Begin at the top and work down. Then clean the brush of the darker 
color before using for the next glazed-wall space. 

To Secure the Best Results With the Cloth, select clean but old 
cloth, without lint (cambric is good), hold the cloth loosely but 
firmly in the hand. Have enough material to obtain a good grip and 
to form a soft cushion. Pat the wall surface lightly, giving just a 
little twist to the wrist before releasing the pressure. This will pick 
off" the superfluous color and will take out all the brush-marks. 
Before patting the next space, change the position of the cloth to get 
a clean place, and keep on doing so. This process is almost better than 
the brush, as the cloth can be kept cleaner than the brush and a morr 
uniform color produced throughout. 

Pa^e thirly-fiv.' 




Sherwin-Williams 
FLOORLAC 




m 

Sherwin-Williams 
Inside Floor Paint 




GRAY LIGHT TAN 

' ICHT BROWN DUST COLOR 




• DARK OAK WALNUT 

EXTRA LIGHT OAK "' GROUND 



slAte maroon 




The above color samples match approximately the 
actual material. For exact shades get color cards 
from the Sherwin-Williams dealer 



Interior Work 



Directions fur Producing (2) the Mottled Treatment — The same 
methods with regard to mixing color and liquid are required as 
for the blended work, but each color to be used is mixed separately 
with the glazing liquid, using two or three cans as may be required. 
It is not necessary to make a light or dark shade of each color, though 
it is possible to do so. The mixtures can be applied the same strength 
on upper and lower portions of the wall and the lighter effect then 
secured on the upper by patting the wall harder and removing more 
of the mixture from the surface. Each different color of mixture 
should be applied with a separate brush, alternating with the two or 
three colors so the wall will be evenly spotted. The mixtures can be 
applied roughly, and if the worker uses a little ingenuity very artistic 
effects will be obtained. The stippling or wiping with a cloth is a most 
important part of this finish, as the different colors are all pulled 
together, giving the finished mottled effect. 

(b) .Walls and Fabrics — To Stencil — For stenciling plaster, wood- 
work, canvas or plaster board painted with Flat-Tone or Flat-Tone 
System Effect, proceed as follows: Apply S-W Flat-Tone Glaze and 
Stencil Colors or S-W System Effect Colors as we direct in our Stencil 
Catalogue. Dip the stencil brush or other stiff bristle brush in the 
color and wipe off surplus color on a piece of waste cloth. Lightly 
tap the brush or use in rotary motion on that part of the surface 
which is exposed by the openings in the stencil when the latter 
has been put in the desired place. Be sure the color does not run 
or spread under the stencil paper. The latter action in the paint 
would indicate that the brush is too full of color and must be wiped 
more thoroughly. When the mixture becomes dry or stiff, it must 
be thinned with pure spirits turpentine to the consistency of stiff 
paste. Only a small quantity of this thinner should be used to 
prevent the color from spreading on the surface to which applied. 
Stenciling fabrics should be undertaken in the same manner. Mix 
with each color one-tenth as much S-W Stencil Aledium to assist in 
settling the color and permit washing. In fabric stenciling, it is ad- 
visable to dispense with using white paint in the mixture of color 
wherever possible. 

If you have never used our stencil material before, write for our 
new Stencil Catalogue. 

For stenciling water-tinted walls, and for scenic painting, mix 
gum arable dissolved in water or fish glue with S-W Distemper 
Color to make a paste and apply with a stencil brush or other stiff 
bristle brush through the openings in the stencil, which should be 
placed in position on the wall. 

(c) Metal and Plaster Relief Work— To Paint— Metal or plaster 
surfaces having relief work can be decorated in the following manner: 

Page Ibirty-seven 



Interior Work 



Build up a groundwork of S-W Liquid Flat-Tone as directed for Metal 
and Plaster Surfaces on page 32-c, then proceed to glaze this sur- 
face with Glaze Color and Glazing Liquid, as explained on page 34-<3, 
under "Walls to be Finished in the Glaze Effect." Glaze Color Raw 
Sienna is satisfactory for most work. Before the Glaze Color finish 
sets, wipe w"ith gentle pressure. This removes the color from the 
raised parts, allowing a little tint of the Flat-Tone under-coating to 
show to some extent, retaining the color in the sunken part of the 
relief work. This produces a two-toned effect, and brings out the 
pattern clearly. 

(a) Walls and Ceilings — To Enamel — To prevent the surface from 
absorbing the paint too rapidly, apply a first coat of S-W Wall Size. 
When this has been allowed to dry overnight, apply S-W Enameloid 
or S-W Enamel in the desired shade in two coats, allowing at least 
24 hours for thorough drying between coats. Thin the first coat 
slightly with pure spirits turpentine, using about a pint of turpentine 
to a gallon of paint, and apply the second coat as it comes from the can. 

(b) Keene's Cement, Exterior of Bath-Tubs, etc. — To Enamel 

— A groundwork must first be produced with S-W ODP White Lead or 
S-W Master Painters LInder-coating used in three or more coats as 
may be necessary. At least 24 hours for thorough drying should be 
allowed between coats. Then apply a coat of S-W Old Dutch Enamel 
or S-W Snow White Enamel. 

(c) Walls With Water Paint— To Tint— Use S-W Decotint. First 
stop suction in the plaster by applying a first coat of S-W Special 
Wall Size. Mix S-W Decotint with cold water, using only enough 
\v'ater to make a heavy paste and stir thoroughly until all lumps have 
disappeared before thinning still more with water, until a mixture 
of creamy consistency is secured. Then apply one or two coats 
of this paint with a wide kalsomine brush. For previously finished 
surfaces the size coat may be omitted. 

(d) Walls— To Kalsomine— Use S-W Kalso. First stop suction 
in the plaster by applying a coat of S-W Special Wall Size. Then 
apply a coat of S-W Kalso after it has been mixed properly, applying 
the color with a wide kalsomine brush, that is using the color 
plentifully and dipping the brush into the mixture often. To mix the 
S-W Kalso, proceed as follows: Mix about five pounds of the dry 
Kalso at one time, placing it in a bucket and adding sufficient boiling 
water to make the mixture a heavy paste. Stir with a paddle until 
free from, lumps and then add about a pint and a half of the cold 
water, after which allow to stand and jell, when it will be ready for 
application. If too heavy, add a little more cold water. When 

Page Ihirty-eighl 



Interior Work 



convenient, mix Kalso the night betore and leave it in a cool place to 
"jell" overnight. For previously finished surfaces the size coat may 
be omitted. This treatment is excellent for basement walls. 

(a) Metal-Lined Bath-Tubs — To Refinish — Use S-W Bath 
Enamel. See that the tub is absolutely free from grease and soap, 
and perfectly dry. Rub the surface with fine sandpaper or with 
pumice-stone until it is smooth so that the enamel will more easily 
adhere. Stir thoroughly from the bottom of the can. Apply with 
a fitch or soft bristle brush, spreading evenly, and in thin coats. Allow 
about 24 hours for each coat to dry, and for best results, sandpaper 
lightly with fine finishing paper or moss between coats. Three coats 
are necessary if a porcelain-like surface is desired. Several days 
should be allowed after the last coat has been applied before permitting 
water to touch the surface. Then run cold water in first to assist it 
in hardening. If the enamel is too heavy to work freeh', thin it slightly, 
using about a pint of turpentine to a gallon of enamel. Keep the 
enamel well covered when not in use. 

(b) Stove-Pipe and Iron Enamel — To Protect — S-W Stove-pipe 
and Iron Enamel should be applied with a soft rag when the surface 
is slightly warm and should be allowed to dry at least 24 hours before 
subjecting it to high temperature. Under this condition it will be 
practically smokeless and will produce a better and longer wearing 
enamel on the surface than any other similar material. This finish is 
highly inflammable, and should not he exposed to flames or sparks. 

(c) Picture Frames, Chandeliers, Bird Cages, Gas Jets, etc. — 
To Gild — Use S-W Empress Liquid Gold which is put up ready for 
application. First clean the surface as thoroughly as possible with 
a dry, soft cloth. Then apply the liquid gold with the brush which 
comes with the package. 

When there is no objection to mixing, S-W Imperial Gold Enamel 
may be used. It comes in powder form with S-W (jold Enamel Size, 
a dish for mixing and a small brush with which to apply it. Mix 
the powder and size to give a thin paste and apply with the brush 
after the surface to be treated has been cleaned with a dry, soft cloth. 

(d) Concrete and Cement Floors — To Finish — S-\\ Conciete 
Finish for floors is suitable for both exterior and interior concrete 
and cement floors. When the contractor or architect has been con- 
sulted to make sure that the cement or concrete floor is thoroughly 
dry, apply a first coat of S-W Concrete Floor Finish thinned with 
about a pint or a quart of turpentine to a gallon of the paint. Second 
and third coats may be applied as the paint comes from the can. 
Allow at least 24 hours for each coat of paint to dry thoroughly. 

Page thirty-nine 






.'^totm Door 
Bodv 5WP387 

>\^ 5m* Black 

Pore 1 1 Floor 

5^'Porch 3 Deck 

Paint No. 50 

Porch i^'oiliii^ 

>S-)1''Ao^a/ Varnish 

Exterior Dootj 

5WP 393 





Cifoeiilicii vc 

lotiiKl.iliOii >iJn>-! SM^I'4(il 
v.i.vli S)V/> GLOSS WHir^ . 

Wat(?r lank etc. 

WM 1. 
SW EMAMaOIDSAVSeimiN 

\\OOI)\\'Ol^kN\\MNiCOTIN\'. 

SW vA/fMSH mis mm OAK 
swiNsmi: iijooifi^iNT 

LIGHT TAN 

TANK ^ ripi:,^ 

S-W ALUMINUM I'AIX 

>Tcvi:i>ii>[: ^v iit^M 
s-w srovEi» ii>i: i:mMi:L 

l(*.iai>ilor 
7 -'a-^MSWCALVASIZEDIKONI'IflMER 

^fiV\/) iv4! yw FIAT Tom: ow^colo 
niiifo- tv- 5-w eiAir. cowfis GO/./xs li/foh'xs. o/jie/ja/: 

eacfi reduce<fwiifi S'W OLAZWG UQ/J/I) and appftetf se/aral^ 
to produce mct/Mdrpeni,/>romi lone orC/M/: COl.O/^ SCA/fLUT 
OlfANe/:,ivduced'i-MS-W(ilA2t^GUqiJm 




Interior Work 



(a) Andirons, Ornamental Iron, etc. To Paint — For these 
surfaces, use S-W Flat Black. It comes ready for use, and should be 
applied in one or two coats with a brush. It is also suitable for use 
on wood surfaces to give the effect of wrought iron. 

(b) Radiators, Boilers, Water-Pipes, etc.— To Protect— There 

are several kinds of finishes which can be used on radiators, water- 
pipes, etc. Where a metallic effect is desired, S-\V Liquid Gold or 
S-W Aluminum Paint may be employed. One coat of this material 
should give a satisfactory surface. For best results, apply when the 
surface is slightly warm and after use allow at least 24 hours before 
subjecting to high temperature. 

If a finish matching enameled woodwork is desired, use S-W 
Enamel or S-W Enameloid in the desired tint as directed for wood- 
work, page 27-b. When the radiators are new and have not been 
given a priming coat at the factory, S-W Galvanized Iron Primer is 
necessary as a first coat (before building up the under-coating of 
white paint). 

Where the radiators are to be finished to match the walls, employ 
one of the following methods: (a) If the surface was never painted, 
apply S-W Galvanized Iron Primer, and in twenty-four hours, apply 
second and third coats of S-W Flat-Tone and a coat of S-W Glaze 
Color thinned with S-W Glazing Liquid as directed on page 34-^ for 
glazing walls, (b) Apply S-W Aluminum Paint or S-W Empress 
Liquid Gold, and after twenty-four hours, use S-W Glaze Color 
thinned with S-W Glazing Liquid as directed for last coat in mottling 
walls, page 34-(2. 

(c) Decorative Department — Many times you have a paint prob- 
lem before you — such as what color-scheme to use on the outside of 
your house— how to redecorate or brighten up a room — or even what 
finish would be most suitable for a certain piece of furniture. At such a 
time you would welcome the advice of an experienced decorator if you 
could get reliable service without much trouble and without obligating 
yourself in any way. 

The Sherwin-Williams Co. conducts a Decorative Department to 
cope with just such problems as you encounter repeatedly. It consists 
of skilled decorators who consider your particular problem and — free 
of charge — give you advice that places you under no obligation what- 
ever. 

To take advantage of this free service it is only necessary to send 
such information as will guide our decorators in their choice of suitable 
color-schemes. A rough pencil-sketch, or better still, blue-prints 
should be sent. With this inforniation to guide them, our decorators 
send you suggestions best suited to your need. Just furnish the infor- 
mation we have recommended to the Decorative Department, 
The Sherwin-Williams Co., 601 Canal Road, N. W., Cleveland, Ohio. 

Page forty-one 



Don'ts 



Don't leave paint uncovered overnight. 

Don't thin paint nor clean brushes near a flame. 

Don't use an interior finish for an exterior surface. 

Don't leave brushes in paint, stain or varnish overnight. 

Don't use a finish prepared for standing woodwork, on floors. 

Don't paint around the edges of a floor and leave the center for 
the last. 

Don't use any finishing material without first stirring it thoroughly 
in the can. 

Don't skimp on plenty of good linseed oil when mixing paint for 
exterior use. 

Don't use enamel brushes to stain and expect to use them for 
enameling again. 

Don't repaint until all leaking roofs, gutters and broken spouts 
have been repaired. 

Don't use any new finishing material over a surface which has 
not been cleaned first. 

Don't apply flat oil paint over a water-tinted wall until old 
material is washed off. 

Don't apply new paint o\-er blistered j)aint with.out scraping or 
burning off the old finish. 

Don't use boiled oil in any first coat, S-W Primers, or for thinning 
SWP. Use pure raw linseed oil. 

Don't paint on the sunny side of a house, if possible ; avoid 
painting in the direct heat of the summer sun. 

Don't use an interior wall brush to apply exterior paint. See sug- 
gestions for the selection of suitable brushes on pages lO-c and 2S-h. 

Don't apply exterior paint in thick, heavy coats. Brush it out 
well, as two thin coats cover better and protect the wood more than 
one heavy coat. 

Don't use as a first coat on unfinished wood surfaces any but 
S-W Primers or SWP thinned with pure raw linseed oil and turpentine 
according to instructions. (See page \\-a^. 

Don't apply one coat of paint and let it stand a year or so before 
applying the second. It will have weathered to sucli an extent that 
the final results will not be nearly as satisfactory. 

Page forty-liin 



Don'ts 



Don't apply stain to a painted or varnished surface before re- 
moving the old finish. S-\V Taxite ij a paint and varnish remover. 

Don't forg-et that "clhow-grease" must be used to spread any 
paintnut into thin coats and to brush it well into the poresof the wood. 

Don't apply paint over a damp or wet surface, or before }-ou have 
an architect or a contractor's assurance that basements and the 
plaster have dried out thorough!}-. 

Don't paint aroun.d fresh mortar beds, on account of the tendency 
of the oil in any paint to absorb the moisture and fumes from the lime, 
destroying the life of the oil and causing the paint to flat out and 
perish. 

Don't apply a coat of paint and let it get bone hard before con- 
tinuing the work. If the under surface is allowed to get too hard, it 
will not have the proper "tooth" or hold to allow the succeeding coat 
to get a grip on it. 

Don't compare the price of SWP with that of other paints without 
considering that S^^ Pis the paint that covers most and lasts longest; 
the paint with a Trade-mark; the paint that is the result of half a 
century of experience in the manufacture of high-grade finishes; the 
paint that will preserve the building material most, and the paint 
that will cost the least in the end. 




Page forty-three 



S-W Porch and Lawn 
Furniture Enamel 




S-W Wagon and Implement Paint 




YELLOW GREEN BLUE 



S-W Buggy and Auto Paint 




S-W Handcraft Stains 




A few of the most Popular Colors. 

The above color samples match approximately the 
actual material. For exact shades get color carols 
from the Sherwin-Williams dealer 



Color Plate Effects 

How to Obtain the Effects Shown on 
the Color Plates 

Page 8 

Upper Body — S-W Preservative Shingle Stain B-4S or SW'P 387. 

Lozver Body — S-W Concrete Finish Extra Light Gray. 

Trimming, Sash and Blinds — SWP Gloss White. 

Roof — S-W Preservative Shingle Stain C-71. 

Porch Floor— S-W Porch and Deck Paint No. 49. 

Porch Ceiling — SWP Gloss White. 

Exterior Doors— S-\Y Old Dutch Enamel White Exterior. 

Alternate Specifications 

Upper Body — S-W Preservative Shingle Stain C-71. 

Lower Body — S-W Concrete Finish Colonial ^'ellow. 

Trimming and Sash — SWP Gloss \^'hitc. 

BlindsSW? A6\. 

Roof — S-W Preservative Shingle Stain C-82. 

Porch Floor— S-W Porch and Deck Paint No. 48. 

Porch Ceiling— SWF Gloss White. 

Exterior Doors — S-W Old Dutch Enamel White l'!xterior. 

Page 12 

Body — S-W Concrete Finish Creanior Light Gra)'. 

Trimming and Sash — S-W Preservative Shingle Stain B-44. 

Roof — S-W Preservative Shingle Stain B-44. 

Porch Floor— S-W Porch and Deck Paint No. 50. 

Porch Ceiling— SWP 462. 

Exterior Doors — S-W Handcraft Stain P\imed Oak. 

Alternate Specifications 

Body — S-W Concrete Finish Extra Light Oay. 

Trimming— S-W Preservative Shingle Stain C-73. 

Sash— SWF Gloss White. 

Roof — S-W Preservative Shingle Stain C-73. 

Porch Floor — S-W Porch and Deck Paint No. 49. 

Porch Ceiling— SWF Gloss White. 

Exterior Doors — S-W Handcraft Stain Weathered Oak. 

Page forty-six 



Color Plate Effects 



Page 17 



Ceiling — S-W Flat-lone White. 

Wall— S-W Flat-Tone White. 

Stencil No. 38-y — Nile Green 1 part and white ' < part 

ffoodzvork— S-W Old Dutch Enamel. 

Floor — Varnished with three coats S-W Mar-not \ arnish. 

Curtains — W^hite Alarquisette. 

Overcurtains — Rose taffeta with floral border. 

Rugs — Two- toned velvet. 

Furniture — Sea Green enamel, Colonial style. 



Page 21 



Ceiling — S-W Flat-Tone White. 

IV all — S-W^ Flat-Tone Cream. 

//'oo(/«'or^— S-W^ Old Dutch Enamel White. 

Floor — Pine, stained with S-W Handcraft Stain Walnut reduced 

with 8 parts S-W Handcraft Stain Reducer and finished with 

three coats S-W Alar-not \'arnish. 
Curtains — W^hite Aluslin, sill length. 

Overcurtains, Hangings, Cushions, etc. — Figured cretonne. 
Rugs — Handwoven rag rugs, medium size. 
Furniture — White Enamel, Alahogany and W ickcr. 



Page 24 

Ceiling — S-W Flat-Tone White. 

irall—S-W Flat-Tone Buff Stone. 

Woodwork — Pine or Birch, S-W Handcraft Stain Fumed Oak, 

rubbed finish. 
Floor — W oodwork stain reduced with 8 parts S-W Flandcraft 

Stain Reducer and finished with three coats of S-W Mar-not 

Varnish. 
Curtains — W hite Marquisette. 
Overcurtains, Cushions, et:. — Figured cretonne, ivory ground, 

green and pink rose decoration. 
Rugs — Two-toned W ilton or Kilmarnock Pattern No. 110, Color 

No. 91-a. 
Furniture — Cretonne upholstered chairs, willow chair in green — 

also pieces to match woodwork with cane seats and backs. 

Page forty-seven 



Color Plate Effects 



Page 28, Plate No. 1 

Ceiling — S-W Flat-Tone Caen Stone. 

Wall—S-W Flat-Tone Silver Gray. 

Stencil No. 28-y, applied with S-W Glaze Colors, Orange Lake 

1 part and Stencil White 1 part. 
Woodwork — S-W Old Dutch Enamel White. 

Page 28, Plate No. 2 

Ceiling — S-W Flat-Tone Cream. 

Upper Wall — S-WFlat-Tone System EffectNo.4, requiring S-W 

Flat-Tone Old Gold and Glaze Color Brown Sienna. 
Lower Wall — S-W Flat-Tone System Effect No. 10, requiring 

S-W Flat-Tone Old Gold and Glaze Color Mahogany Brown. 
Stencil No. 97, Leaves and Binder, Myrtle 1 part and Stencil 

White .1-10 part. Flowers Stencil White tinted with 

Chrome Yellow Medium. 
Woodwork — S-W Handcraft Stain Flemish Oak. 

Page 33, Plate 1 

Ceiling — Rough or Smooth Plaster or Canvas — S-W Flat-Tone 
Cream. 

Wall — Rough or Smooth Plaster or Canvas — S-W Flat-Tone 
Buff. 

Frieze, Background — S-W Flat-Tone System Effect No. 1, prod- 
■ uced over Flat-Tone Ivory with Glaze Color Scarlet Orange. 

Stencil No. 47 — Leaves produced with S-W Flat-Tone Glaze 
Colors, Italian Pink 1 part. Cobalt }'2 part and Stencil White 
1 part. Fruit and Mask produced with Italian Pink 1 part, 
Florentine Lake 1-10 part and Stencil White 2 parts. 

Woodwork — Birch — S-W Flat-Tone White and Enamel Ivory. 

Floors — Oak Natural — Filled with S-W Transparent Filler and 
finished with S-W Mar-not. 

Page 33, Plate 2 

Ceiling — Rough or Smooth Plaster or Canvas, S-W Flat-Tone 

Lichen Gray. 
Wall — Rough or Smooth Plaster or Canvas, S-W Flat-Tone 

Maple Green. 
Stencil Frieze, Stencil No. 13, applied in S-W Flat-Tone Lichen 

Gray over the Wall Color and the rich peacock tones shown 

on the sketch produced with Flat-Tone Glaze Colors, 

Cobalt, Alizarin Green, Burnt Sienna and Raw Sienna. 
Woodwork — Oak, stained with S-W Handcraft Stain Old English 

Oak, followed by S-W Golden Oak Filler and S-W Excello. 
Floors — Oak, filled with S-W Golden Oak Filler and followed with 

S-W Mar-not Varnish. 

Page forty-eight 



FlJRNlTURK AND rL001?S C\N BI! I^OPliRlY FIN ISHOl) WITH SWuATIIRIMS 




S-WHandcraftStain . ., ^ 

0I^Tjqli5h0ak AKT.NO.1 

■■■■ This Ta»i j: snows thi: nfFEcrl 

^^^^H OF 51MNING OAK WOOD WITH 

■^■■■■■Pf S-WHandcraftStain Early English I 

stain Tavern Oak 








No2SWMaknot No.35-Wfix)ORUc No4S-WInsidi: 
Varnish Light Oak IwrRmntC^ray 



Sherwin-Williams Products 



Paints, Colors, Etc. 

Aluminum Paint. 

American Wliite. 

Auto Leatiier Dressing. 

Bath Enamel. 

Bicycle Enamel, .Mr-Drying. 

Bras-Brite. 

Brighten Up Finishes. 

Brighten Up Stain. 

Bronzing Liquid. 

Buggy and Auto Paint. 

Carbolic-ol 

Cement and Stucco Stains. 

China Gloss Wliite, SWP. 

Combination Whites. 

Commonwealth Barn Red. 

Commonwealth Barn Gray. 

Concrete Finish. 

Concrete Sealer. 

Copper Paint. 

Crack and Seam Filler. 

Creosote Paint. 

Dancing Floor Wax. 

Deco-Paste. * 

Decotint Wall Finish. 

Dccotint Wall Colors. 

Distemper Colors (Fresco). 

Drier, English Patent. 

Dry Colors. 

Ebonol. 

Empress Liquid Gold. 

Enamel Leather Dressing. 

Enamcloid. 

Enamel. 

English Patent Drier. 

English Venetian Red (Paste). 

English Vermilion (DryJ. 

Family Paint. 

Filler (Paste). 

First Quality Oil Colors. 

Flat Black. 

Flat Brick Red. 

Flat White, SWP. 

Flat-Tone (Liquid). 

Flat-Tone Glaze and Stencil Colors. 

Flat-Tone Glazing Liquid. 

Flasoap. 

Floor Finishes. 

Floorlac. 

Floor Wax. 

Floor Wax, Dancing. 

Floorwipe. 

Fluid Wax, High Polish. 

French Crown Green, SWP. 

French Crov.n Green (Paste). 

French Zinc in Varnish. 



Paints, Colors Etc. — Continued 

Galvanized Iron Primer. 
Glaze and Stencil Colors. 
Glazing Putty. 
Gloss Colors. 
Gloss Whites, SWP. 
Gold Paint and Gold Enamel. 
Golden Oak Stain. 

Graining Colors (Prepared in Oil and in Dis- 
temper). 
Graining Preparation. 

Graphite Pipe Joint and Gasket Compound. 
Graphite (Black Lead). 
Handcraft Stains. 
High Polish Fluid Wax. 
Imperial Gold Enamel (Lustroline). 
Inside Floor Paint. 
Inside Varnish White, SWP. 
Kalso. 

Linseed Oil (Medicinal). 
Linseed Oil Soap 
Liquid Gold. 

Lustroline Imperial Gold Enamel. 
Machine Paint and Filler (Paste). 
Medicinal Linseed Oil. 
Metalastic No. 2. 
Metalastic No. 4. 
Metallic Brown (Paste). 
Metallic Brown, SWP. 
Mine, Mill and Factory Colors. 
Moss Green, SWP. 
Non-Corrodible (iraphitc Paint. 
Ochre (Pasto). 
Oil Colors. 
Oil Stain. 

Old Dutch Enamel. 
Old Dutch Process White Lead. 
Outside Gloss White, SWP. 
Paint and Varnish Remover. 
Paste Colored Paint. 
Paste Filler. 

Perfect Method System for Carriage Paiiuing. 
Permanent Cardinal Red, SWP. 
Permanent Mahogany Stain No. 700. 
Permento. 
Polish-ol. 

Forehand Lawn Furniture I'mamel. 
Porch and Deck Paint. 
Powdered Floor Wax. 
Prepared Graining Colors. 
Primer, Gray and Yellow, SWP. 
Quick-Drying Colors. 
Quick-Drying Colors. Tubes. 
Red Lead (Paste). 
Roof and Bridge Paint. 
Schoolboard Slating. 



Page fifly 



Sherwin-Williams Products 



Paints, Colors, Etc. ~C(>iili)iut' I 

ficreen Enamel. 

Sheep Marking Liquid. 

Sliingle Stains, Preservative. 

SWP. 

Special Colors (Paste). 

Stencil Colors. 

Stencil Outfits. 

Stencils. 

Stove-Pipc and Iron Enamel. 

Taxite (Paint and Varnish Remover). 

Tire-Coat. 

Venetian Red. 

Verdclite. 

Wagon and Implement Paint. 

White Lead (Paste). 

White Zinc (in Oil). 

Whites, SWP. 

Woodcraft Stains. 

Wood Crack Filler. 

Yellow Ochre (Paste). 

Zincs in Oil, White. 

Zinc in X'arnish, French. 

Carriage Varnishes 

Carriage Body Finishing. 
Elastic Gear Finishing. 
Extra Pale Body Rubbing. 
Extra Pale Express Coach. 
Gear Rubbing. 
Hard-Drying Gear. 
Mjdium Body Rubbing. 
Medium Drying Gear. 
One Coat Carriage. 
Pale Quick Rubbing. 
Palest Durable Body. 
Palest Perfection Gear. 
Quick Rubbing. 
Wagon Coach. 
Wearing Body Finishing. 
White Body Finishing. 
White Body Rubbing. 
White Gear Finishing. 

Master Painters' Varnish 
Specialties 

Durable Spar. 
Excello. 

Hard-Drying Seat. 
Hard-Drying Floor. 
High Gloss Interior. 
Interior Coach. 
Kopal. 
Lustral Coach. 



Master Painters' Varnish 
Specialties — Continued 

Marine Spar. 

Mar-not. 

No. S Exterior. 

No. S Floor. 

No. S Interior. 

Pale Flowing Cabinet. 

Pale Interior Polishing. 

Pale Durable Interior. 

Transparent Floor. 

Asphaltums 

Finest Turpentine. 
No. I Asphaltum. 
Premo Asphaltum. 

Miscellaneous Varnishes 

Bar-Top Finish. 

Crystal Paper. 

Durable Household. 

Durable Linoleum Finishing. 

Durable Wood Finish (Exterior). 

Durable Wood Finish (Interior). 

Extra Furniture. 

Extra Boat. 

Finest White Damar. 

Finest White Enamel. 

Hard-Drying Oak. 

Hard Oil Finish. 

Hard Oil Finish Pale. 

Marine. 

No. 1 Coach. 

No. 1 Damar. 

No. 1 Furniture. 

Premo Coach. 

Premo Furniture. 

Premo Hard Oil. 

Velvet Finish. 

First-Goaters and Liquid Fillers 

Hard-Drying Coatcr. 

Liquid Filler. 

Marvelac-cr. 

Mission-lac. 

Shellac-coat. 

Shellacine. 

Wall Size. 



Shellacs 

White. 
Orange. 



Page fifty-one 



Sherwin-Williams Products 



Driers 

B Drier. 

Dry-o-lenc. 

Dry-onite. 

Hercules. 

Japan. 

Oxolene. 

White Japan. 

Japans 

Coach Painters', 
Drying. 
Gold Size. 
Imperial Coach. 



Insecticides 

Arsenate of Lead, New Process (Paste). 

Arsenate of Lead, Dry Powdered. 

Arsenite of Zinc, Dry. 

Bordeau.x Mi.xture. 

Cattle Dip No. IS. 

Fungicides. 

Insecticides. 

Lime-Sulfur Solution. 

I.ime-Sulfur Dip. 

New Process Arsenate of Lead. 

Paris Green (Dry). 

Pruning Compound. 




Page fifty-two 




The Sherwin-Williams Co. 

FACTORIES AND OFFICES 

CLEVELAND, 601 Canal Road, N. W. 
CHICAGO, Pullman Station 
NEWARK, Brown Street and Lister Avenue 
MONTREAL. 897 Centre Street 
LONDON, ENGLAND 

WAREHOUSES AND OFFICES 

ALBANY, 380 Broaduav 

BALTIMORE, 8 West Favette Street 

BINGHAMTON, N. Y., l'l5 Court Street 

BIRMINGHA\L 2309-2311 Morris Avenue 

BOSTON. 11-13-15 Stillinus Street 

BUFFALO, 66-68 Erie Street 

CHICAGO, Citv Office, 1101 People's Gas Building 

CHICAGO, Citv Service Station, 2355-57 La Salle Street 

CINCINNATI,'420 Pioneer Street 

COLUMBUS, 16-20 East Chestnut Street 

DALLAS, 2411 Swiss Avenue 

DENVER, 1628 Glenarm Place 

DETROIT, City Service Station, 138-140 Bates Street and 

Wholesale Warehouse, 475 Troniblev Avenue 
FORT WORTH, Texas, 700 Houston Street 
HOUSTON, 622 Travis Street 
INDIANAPOLIS, 314-316 West Georgia Street 
KANSAS CITY, 1400 St. Louis Avenue 
KNOXVILLE, 506 Gav Street 

LONDON, ENGLAND, 7 Well Court, Queen Street, E. C. 
LOS ANGELES, 816-822 Traction Avenue 
MINNEAPOLIS, 701-705 Third Street, North 
NEW ORLEANS, 227 Baronne Street 

NEW YORK, 119-123 West 31st Street and 116-120 \\est 32d Street 
OMAH.\, Corner Tenth and Dodge Streets 
PASADENA, CAL., 113-115 East Colorado Street 
PEORIA, ILL., 519 Main Street 

PHILADELPHIA, Delaware Avenue and Chestnut Street 
PITTSBURGH, 804 Penn Avenue 
PORTLAND, ORE., 469-471 Everett Street 
SAN ANTONIO, 101 East Commerce Street 
SAN FRANCISCO, 454-466 Second Street 
SAVANNAH, 745 Wheaton Street 
SE.^TTLE, 512 First Avtenue, South 
SPOKANE, Corner Railroad Avenue and Wall Street 
ST. LOUIS, Second and Clinton Streets 
TORONTO, 86 York Street 
VANCOU\'ER, 827 Powell Street 
WINNIPEG, Corner Vincent and Whyte Avenue 



Designed and Printid by the Adverlisin:^ I'eharlmeni of 

The Sherwin-Williams Co. 



LIBRARY OF CONGRESS 



001 711 903 5 




B508COV. CIS 1467 



